F R I E N D S O F B U R N L E Y G A R D E N S INC Papyrus Autumn Edition 2017 No. 65-Autumn 2017 PART 2 FOBG GROUP REPORTS BURNLEY GARDEN’S BOTANICAL ART GROUP Jennene Arnel The Burnley Gardens' Botanical Art Group paints on Wednesday mornings (in four week blocks) in Quad 4. We are fortunate to have Mali Moir as our experienced and talented tutor. Mali very ably instructs both beginners and experienced artists. The classes are small with a maximum of 10 students. Our focus this year is drawing and painting plant material from the gardens for inclusion in the soon to be published Burnley Gardens’ book. We were thrilled to be invited to participate in this project and already have a number of completed works ready for inclusion in the book. New members are always warmly welcomed to the group. Please contact me if you would like to join the group. Jennene Arnel ph: 0412 097 068 Plant Propagation Group Report April 2017 Glenys Rose We have had a slow start to the year with only one sale so far. The San Remo Garden Club visited Burnley so we ran a very well patronised special sale. We are organising small sales for two groups in May. The watering system has finally been installed in all the propagation area except the tunnel. We are still working on finding the right heads to ensure adequate coverage without flooding. Many thanks to Shaun Bowman and Brett Hough for their excellent installation work. Our area is much safer without the free-standing sprinklers. We welcomed Janice Peeler to our group in April. Several members have had health issues and we send our best wishes. Here’s a note to end on: “I cannot endure to waste anything so precious as autumnal sunshine by staying in the house." Nathaniel Hawthorne, The American Notebooks (1842) MEMBERSHIP REPORT Cheryl Andrews Since the Summer edition of Papyrus, membership has increased to 232 members. I would like to welcome the following members who have joined since November 2016: Janice Peeler, John Harrison, Ruth Kennedy, Roz Madden, Philip Horbury, Catherine Lovelock and Christine Dempster. Pomegranate fruiting in theHilda Kirkhope rockery (designed c.1930s) opposite the Adminsitration Building. Jane Wilson (Archives) is unable to contribute to this edition of Papyrus. She has stepped in to assist her daughter Claire’s new business, advertised in our last newsletter. Instead she has provided an amusing poem by Claire, written when she was 14, describing her mother’s determined gardening style and the reaction of her neighbours to this tenacity. STREET TALK My mother is a gardener, She works as hard as she can go. Many of you have seen her, So I’m sure you already know. It’s really quite amusing, When she’s working by the side walk, Where she can hear all of the neighbours, And listen to their street talk. One morning they saw her yanking, All those agapanthus out, She was at the job for hours, There seemed an unending amount. Many neighbours mentioned, As they watched her work in awe, “With a woman like that, What’s a husband for?” They’ve seen her down on her knees, Trimming the edge of the lawn. And whispered as they passed her, “She’s been at it since dawn!” Meanwhile there’s three kids inside, Reclining on the sofa. Not offering to mow the lawn, But when forced might start the motor! Weeding is big challenge, It just never seems to end. It leaves you all over stiff, With the way you have to bend. But mum never thought that it Would get her into strife, Till that old man said to her, “Your behind looks like my ex-wife!” So even though its tiring, My mother always gets a laugh, From the comments people make, When walking down the street path. Claire Wilson FOBG TALKS ANDREW ROGERS – DRAWINGS ON THE EARTH: BIG BOLD AND Jan Chamberlain BEAUTIFUL On St Valentine’s Day, Andrew Rogers spoke to a large crowd in the Burnley Hall about his work. Andrew lives, breathes and is passionate about art 24 hours a day/7 days a week. He has worked all over the world in 51 sites in 16 countries, including Turkey, Iceland, Nepal, Israel, India, Australia, Namibia and Sri Lanka to name but a few. Designed to be seen from above, these large creations have a global purpose – to form a set of connected drawings on Earth visible from space, embracing the cultural heritage of civilization. The locations -including remote deserts, fjords, gorges, national parks, altiplano, mountain valleys and a frozen lake – are exotic and disparate. Close to home he has work in Eastern Park in Geelong, and in the You Yangs, Bunjil the wedge-tailed eagle can be seen. At the beginning of his projects, Andrew sits down with the elders of the local community. They determine what's important, what is to be preserved and any common symbols: the rhythm of life. Anyone can come and work on these structures, which are all made from natural materials. Out of respect for the local authorities and respect for the environment he gets the relevant permits to construct his projects. The longest time for getting a permit was six years in Joshua Tree (USA). There are lots of ceremonies around the building of these projects and Andrew always walks over the sites to get the flavour of the land. He aims to create consecrated space. He engages architects. All people who work on his installations are paid, with men and women getting equal pay. In Kenya, he assembled the largest ever gathering, 1270, of Masai, while 7,000 indigenous people in total were involved in his ‘Rhythms of Life’ project. All these projects are visible from space. However, the only way to see his work in Antarctica which was made by using the rock from glacial moraine is to view the photographs taken by the satellites at the time. Andrew spoke of his interest and adoption of The Golden Rule and Fibonacci sequence in his sculptures, which are made of bronze, marble and stainless steel and range from 65 centimetres to 10.5 meters tall. He has had work in the Venice biennale and one of his more recent sculptures is in New Zealand at Gibbs Farm. http://www.andrewrogers.org/ http://www.gibbsfarm.org.nz/about.php Andrew Smith, Michele Adler with Andrew Rogers Footnote:- Andrew Rogers, Sculptor Andrew Rogers (b. 1947) is an Australian artist with a distinguished career in site-specific sculpture, land art and exhibitions. His most ambitious global project prior to fulfilling the commission for Gibbs Farm was “Rhythms of Life” comprised of a connected set of 51 large scale stone sculptures / geoglyphs encircling the earth, across 16 countries and all seven continents. It is even visible from space. Andrew is an internationally recognized artist. He exhibits internationally and his critically acclaimed sculptures and photographs are in numerous private and prominent public collections in Australia, South East Asia, the Middle East, Europe, and the United States of America. The “Rhythms of Life” is the largest contemporary land art undertaking in the world. These geoglyphs form a unifying land art project whose scope and humanity are unparalleled in modern art history. Rogers picks sites that have - in his view - historical significance and spends a long time persuading local officials to allow him to spread his massive artworks across their hills. Often, the works become tourist attractions. For that reason and because the images are meaningful to the people who live nearby, there's a community effort to maintain them. Getting a good look at Andrew Rogers' art can be tough. Andrew Rogers designed the "Ancient Language" geoglyph in Chile's Atacama Desert. The work, 9 feet tall and 263 feet long, was inspired by a petroglyph of the Aguada culture (600- 900 A.D.). It helps to have a satellite. Or a helicopter. Or a plane. ‘I do this as I want the structures to have meaning for the community apart from being an object." He has plans in the works for an even bigger geoglyph, something involving 20,000 people. He's not ready to say where. Bunjil with a wing span 100 metres. 1500 tonnes of rock were used in its construction In the You Yangs, Bunjil, the wedge-tailed eagle is an important ancestral spirit of the indigenous Wathaurong people, who believe the eagle "made the animals and the plants and taught the people how to behave on Earth....and how to conduct the ceremonies that would ensure the continuation of life" -- a theme Rogers says resonated with his concept of his project as "a continuous link between past and present." ‘GROWING, SUSTAINING AND LEARNING FROM A GARDEN’ SANDRA MCMAHON On Wednesday 15 March an excellent turn-out of FOBG members and visitors were treated to a stimulating talk by Burnley's popular Director of Urban Horticulture, John Rayner. John gave an account of the development over the past 26 years of his two acres of garden, Brookdale farm at Emerald. This property was originally developed in the 1890's as a guest house. Over the years, the property was resold and subdivided. Eventually 3.9ha were donated to the Victorian Conservation Trust, now the Trust for Nature. It became an annexe of Burnley, who undertook to revegetate the land. The College were looking for a caretaker, and John, newly returned from working in the UK, found himself in the right place at the right time and moved in! Grants were obtained to implement much revegetation and landscaping, but eventually in 2005 the University of Melbourne relinquished the lease, and John and his wife were able to buy the 'caretaker's lot' of 2 acres.